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Relevant bibliographies by topics / Dante's Inferno

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Academic literature on the topic 'Dante's Inferno'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Dante's Inferno"

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Anonymous. "Dante's Inferno." Eos, Transactions American Geophysical Union 75, no. 33 (1994): 378. http://dx.doi.org/10.1029/eo075i033p00378-04.

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Terry, Philip. "WAITING FOR GOD TO GO: How It Is and Inferno VII-VIll." Samuel Beckett Today / Aujourd'hui 7, no. 1 (December 8, 1998): 349–60. http://dx.doi.org/10.1163/18757405-90000105.

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Critics have been quick to point out the topographical connections between How It Is and Dante's Inferno, but none have fully explored the dynamics at work between Beckett's novel and its primary intertext. This essay argues that How It Is revisits the Inferno politically, in order to deconstruct the theological argument underpinning Dante's Christian epic. In this way Beckett operates not a "poetics of conversion" (Dante) but a "poetics of perversion".

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McFall, E. K. "Macbeth and Dante's Inferno." Notes and Queries 53, no. 4 (December 1, 2006): 490–94. http://dx.doi.org/10.1093/notesj/gjl168.

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Furuuchi, Kazuyuki, and Marcus Sperling. "Tunnelling in Dante's Inferno." Journal of Cosmology and Astroparticle Physics 2017, no. 05 (May 30, 2017): 055. http://dx.doi.org/10.1088/1475-7516/2017/05/055.

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Iannucci, Amilcare A. "From Dante's Inferno to Dante's Peak The Influence of Dante on Film." Forum Italicum: A Journal of Italian Studies 32, no. 1 (March 1998): 5–35. http://dx.doi.org/10.1177/001458589803200101.

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Franco, Charles. "Review: Illustrations to Dante's Inferno." Forum Italicum: A Journal of Italian Studies 30, no. 1 (March 1996): 206–8. http://dx.doi.org/10.1177/001458589603000119.

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Cacciaglia, Norberto. "L'ESPERIENZA DEL MONDO E IL TEMA DELLA CONOSCENZA NELLA DIVINA COMMEDIA." Forum Italicum: A Journal of Italian Studies 39, no. 1 (March 2005): 18–48. http://dx.doi.org/10.1177/001458580503900102.

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In Dante's Comedy (in Inferno, canto XXVI) there are many subjects of great interest, as the Ulysses' travelling on a route we may identify as Eratosthenes' diaphragma (a geographical line through the Mediterranean Sea, dividing the classical oecumene into two imaginary parts), or else the memory of the medieval wanderings (as the Navigatio Brendani) and the travelling of the great voyageurs in Dante's age (Vivaldi brothers who disappeared in 1291 on a voyage from Genoa to the Indies, sailing West through the Straits of Gibraltar). Above all, Ulysses may be considered as a metaphor of Dante himself and of his yearning for knowledge: Dante was also challenging the unknown metaphysical world, pushed by reason and Faith. Otherwise, Guido Cavalcanti, the most beloved of Dante's friends, was trying the way of a rational knowledge only using his mind and according with the Averroes' radical interpretation of Aristotelian philosophy. This effort would be failed (as Dante suggests taking his speech with Cavalcante Cavalcanti in Inferno, canto X). Indeed Dante was following a different spiritual way, according to the Thomas Aquinas' philosophy: in his metaphysical journey his reason is driven by Faith and is propaedeutical to Theology.

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Pequigney, Joseph. "Sodomy in Dante's Inferno and Purgatorio." Representations 36 (1991): 22–42. http://dx.doi.org/10.2307/2928630.

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Corti, Claudia. "Blake's merry descent into Dante's Inferno." Dante e l'Arte 7 (December 9, 2020): 11. http://dx.doi.org/10.5565/rev/dea.131.

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Armour, Peter, and Robin Kirkpatrick. "Dante's 'Inferno': Difficulty and Dead Poetry." Modern Language Review 85, no. 1 (January 1990): 203. http://dx.doi.org/10.2307/3732864.

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Dissertations / Theses on the topic "Dante's Inferno"

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Del, Sonno Matteo. "Methods of Translation in Dante's Inferno." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2019.

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Sabelström, Ellen. "Dantes två infernon : En adaptationsanalys av Den gudomliga komedin och tvspelet Dante's Inferno i relation till gymnasieelevers lärande." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-295301.

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Whitman, Isabelle M. "Dante, Damnation, and The Undead: How The Conception of Hell Has Changed in Western Literature from Dante's Inferno to The Zombie Apocalypse." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1997.

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Dante's Inferno defined hell in Western literature for centuries; it was a physical place for sinners, they were subjected to physical torments, and it was in the afterlife. Dante’s depiction was firmly rooted in Christian theology. However, as fears and morals change, ideas of hell evolve as well. With the popularity of the zombie and other apocalypse narratives, these ideas return to the notion of physical torment and earthly places. In poetry, novels, theater, television, and film, writers examine different interpretations of hell, punishment, and redemption as metaphors for modern sins. In Sartre’s Huis clos, hell is a windowless room, and the tortures are inflicted psychologically by other people. In Romero’s Living Dead films, hell comes to earth, and the torments are both physical and psychological. Joss Whedon’s Buffy the Vampire Slayer shows how hellish the common experiences of high school and growing up can be. Cormac McCarthy’s The Road examines hell as a lack of place, a relentless journey without end. In these and other works, the concept of hell is reinvented and replaced by new ideas, but the influence of the past iterations shapes the new landscapes.

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Denning, Laurie Langlois. "L. T. Meade's Avaricious Anomaly: Â Madame Sara, British Imperialism, and Greedy Wolves in The Sorceress of the Strand." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6848.

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L. T. Meade's Avaricious Anomaly: Madame Sara, British Imperialism, and Greedy Wolves in The Sorceress of the Strand. Laurie Langlois Denning, Department of English, BYU Master of Arts. Critics interested in the prolific late Victorian author L.T. Meade have primarily focused on her work as an author of girls' stories and novels for young people, which enjoyed fantastic commercial success in her lifetime but fell into obscurity after her death. Recent scholarship on her detective fiction shows Meade's significant contributions to the genre as well as her engagement with social and political discourse. Scholars have noted ways that Meade's popular series, The Sorceress of the Strand, contributes to the New Woman debate and expresses anxiety over the British imperial project. This project examines Meade's villain in the series as a social anomaly that functions to interrogate the greed at the heart of imperialism. Examining the series' conclusion and the unusual nature of its ending sheds new light on Meade's contribution to debate over empire at the fin de siécle. Meade's fascinating villain, Madame Sara, is doggedly pursued by two detective figures--one is considered the top forensic specialist in the British police force and the other is the head of a business fraud agency--but the detectives are never able to bring Madam Sara to justice. Instead, it is a wolf that finally defeats the brilliant criminal mastermind. Why a wolf? Madam Sara's unusual demise serves as a deus ex machina that invites the reader to consider the Dante symbolism embedded in the text. Other critics see Meade's ending as reinforcing the empire; however, given the Dante imagery that has Madam Sara symbolizing a greedy imperial force, Meade's series indicts imperial greed and warns British citizens about failure to apprehend the evil in empire.

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Signorelli, Valentina. "Cinematic infernos : digital technologies and the remediation of Dante's Infernal imagery through the cinematic screen (2005-2015)." Thesis, University of Westminster, 2017. https://westminsterresearch.westminster.ac.uk/item/q3375/cinematic-infernos-digital-technologies-and-the-remediation-of-dante-s-infernal-imagery-through-the-cinematic-screen-2005-2015.

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In 2015 we celebrated the 750th anniversary of Dante Alighieri’s birth. In light of the popularity of Dante’s imagery, channelled through a variety of the arts and across national contexts for more than seven centuries, this study explores practices of adaptation and remediation of Dante’s Inferno through the cinematic screen in 2005-2015 as well as its relationship with digital technologies. Despite our understanding of Dante and the screen being enriched by the contribution of several scholars such as Antonella Braida, Luisa Calé, Dennis Looney and Nick Havely, amongst others, very little has been written about the aesthetic, social and political impact of digital technologies on cinematic adaptations of the infernal imagery. In order to fill this gap in knowledge, this study investigates the remediate power of digital technology by simultaneously exploring its involvement and its impact. This includes an examination of film production, conservation, circulation and reception. In order to do so, I scrutinise the following three key case studies: Milano Film’s Inferno (ITA,1911), Pier Paolo Pasolini’s Salò – 120 Days of Sodom (ITA, 1975) and David Cronenberg’s Cosmopolis (CAN, FR, ITA, POR, 2012). This multi-disciplinary approach offers a theoretical revision of the theory of adaptation, shifting from the enduring centrality of the ‘reference text’ to a more intermedial awareness of the pivotal role played by the cinematic screen. This enables an exploration of the cultural, political and social impact of Dante’s inspired infernal imagery in the 21st century.

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Possamai, Jackeline Maria Beber. "Leitura do limbo de Dante." Florianópolis, SC, 2007. http://repositorio.ufsc.br/xmlui/handle/123456789/90585.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura
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O Limbo, presente no Canto IV do Inferno da Divina Comédia constitui um elemento novo, introduzido por Dante à luz das concepções religiosas de seu tempo. O presente trabalho propõe uma leitura desse Limbo, enfatizando os aspectos que lhe são inerentes, como a sua localização, a sua descrição como um lugar estático, os suspiros reinantes e a existência de um castelo que abriga os grandes pensadores e poetas da Antigüidade. Essa diversidade de elementos torna o Canto IV um momento particular na viagem de Dante pelo Inferno, além de enfatizar questões ligadas à religião católica, entre elas o batismo como elemento essencial para a salvação da alma. Ainda dentro dessa pesquisa, aborda-se a questão da intertextualidade favorecida pela presença de muitos personagens da mitologia clássica e os seus autores. A trajetória do peregrino Dante através do Limbo permite-lhe a sua distinção entre os expoentes máximos da literatura clássica.

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CAVALCANTE, Acilon Himercírio Baptista. "O inferno dantesco e o inferno digital: jogo, fantasia e realidade." Universidade Federal do Pará, 2011. http://repositorio.ufpa.br/jspui/handle/2011/7836.

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Esta dissertação trata dos parâmetros possíveis entre o Inferno de Dante e a Cibercultura, através dos resultados de uma pesquisa desenvolvida por em três pontos: A Imagem do Infeno, legado da narrativa dantiana expressa ao longo dos séculos por artistas em diferentes estilos, mas dotados de elementos singulares propostos pelo autor florentino. A Cibercultura e seus conceitos: o ciberespaço, a imagem digital, a cultura de convergência e as transformações em curso que essa cultura produz na sociedade. E por último, a fantasia possível entre os conceitos e a imagem do inferno medieval com o mundo contemporâneo, através da atualização dos mesmos presentes no Inferno do projeto de hipernarrativa que se desenvolve tendo como base em tais definições.
This essay is about possible parameters delined between Dante’s Infero and the Cyberculture, thru a research developed in three aspects: Hell’ image, a legacy from dantian narrative and expressed by diferent artists among the centuries, with diferent styles, but wicht adopted the same elements propouseds by the florentian author. The Cyberculture’s concepts, as ciberspace, digital image, convergence culture and the recent transformations in society. At last, the phantasia possible between Medieval Inferno and the contemporary World, beyond the hypernarrative project for those definitions.

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Oliveira, Maria do Ceu Diel de. "Imagens do inferno : lugares da memoria, palavras de Dante." [s.n.], 2000. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251982.

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Orientador: Milton Jose de Almeida
Anexo folhas de desenho
Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Sanguiné, Milene Gomes Sacco. "Expressões do inferno e tecnologias do imaginário: de Dante a Godard." Pontifícia Universidade Católica do Rio Grande do Sul, 2008. http://hdl.handle.net/10923/2239.

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The following dissertation analyses index sequences that reffers to Dante’s work, beginning with the cinematographic translation of the poem “Divina Commedia” called “Our Song”, by J-L Godard. On the path between these two works, the visual universe of “Hell” had several translations based on the imaginary of the time they were produced. Each work has innumerable pieces of the ones preceded; in a phenomenon Cañizal calls Abyss Perspective. In order to study the image trajectory, we used the concept of imaginary discussed by authors such as Maffesoli, Durand, Machado da Silva and the concept of Collateral Experience discussed by Peirce.
Este trabalho analisa uma sucessão de índices que remetem à obra de Dante, tendo como elemento desencadeador uma tradução cinematográfica do poema “Divina Comédia”, chamada “Nossa Música”, feita pelo cineasta J-L Godard. No trajeto entre as duas obras, o universo visual do “Inferno” teve incontáveis traduções do imaginário da época em que foram produzidas. Cada obra contém fragmentos das que as antecederam, fenômeno a que Cañizal chama de Perspectiva em Abismo. Para estudar o fenômeno aplicado à trajetória das imagens, usou-se concepções de imaginário de autores como Maffesoli, Durand e Machado da Silva e da Experiência Colateral de Peirce.

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Hambrick, Donald John. "Aristotle transfigured, Dante and the structure of the inferno and the purgatorio." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0026/NQ36554.pdf.

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Books on the topic "Dante's Inferno"

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Alighieri, Dante. Dante's Inferno. San Francisco: Chronicle Books, 2004.

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Alighieri, Dante. Dante's Inferno. Brisbane, Calif: Trillium Press, 2003.

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Samperi, Frank. Senno: From Dante's Inferno. Edinburgh: Morning Star Publications, 1992.

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Illustrations to Dante's Inferno. Rutherford: Fairleigh Dickinson University Press, 1994.

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Anne, Paolucci, and Anne and Henry Paolucci International Conference Center., eds. Dante's gallery of rogues: Paintings of Dante's Inferno. Middle Village, N.Y: Council on National Literatures, 2001.

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1265-1321, Dante Alighieri, and Doré Gustave 1832-1883, eds. Dante's inferno: The graphic novel. Belleville, NJ: New Arts Library, 2011.

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Davis, Anita Price. Dante's The divine comedy I, Inferno. Piscataway, N.J: Research & Education Association, 1995.

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Alighieri, Dante. Dante's Inferno: The Indiana critical edition. Bloomington: Indiana University Press, 1995.

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Dante's Inferno: Difficulty and dead poetry. Cambridge [Cambridgeshire]: Cambridge University Press, 1987.

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Pluess, André. Inferno: A new medieval rock musical based on Dante's Inferno. [United States: s.n.], 1995.

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Book chapters on the topic "Dante's Inferno"

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Belliotti, Raymond Angelo. "Introduction." In Dante’s Inferno, 1–12. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40771-1_1.

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Belliotti, Raymond Angelo. "How Honor Degenerates Into Infamy: Piero della Vigna (1190–1249)." In Dante’s Inferno, 13–58. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40771-1_2.

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Belliotti, Raymond Angelo. "The Malevolent Residue of Excessive Loyalty: Piero, Esoterica, and Suicide." In Dante’s Inferno, 59–76. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40771-1_3.

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Belliotti, Raymond Angelo. "How to Earn Immortality: Brunetto Latini (1220–1294)." In Dante’s Inferno, 77–130. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40771-1_4.

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Belliotti, Raymond Angelo. "The Glories and Iniquities of Heroism, Patriotism, and Paternal Love: Farinata degli Uberti (1212–1264) and Cavalcante de’ Cavalcanti (c. 1220–c. 1280)." In Dante’s Inferno, 131–66. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40771-1_5.

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Belliotti, Raymond Angelo. "How Prodigious Talent Can Be Squandered: Guido da Montefeltro (1223–1298)." In Dante’s Inferno, 167–96. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40771-1_6.

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Belliotti, Raymond Angelo. "Envy, Arrogance, Pride, and Human Flourishing." In Dante’s Inferno, 197–247. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40771-1_7.

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Ricklin, Thomas. "L’ordre dominicain dans le ciel du soleil." In The Dominicans and the Making of Florentine Cultural Identity (13th-14th centuries) / I domenicani e la costruzione dell'identità culturale fiorentina (XIII-XIV secolo), 243–61. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-046-7.15.

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This article analyses the dynamic role of Justice in Dante’s Comedy. As the judge of his Otherworld, Dante establishes harsh punishments for the sinners in his Inferno. Moreover, he attacks their earthly fame in a way similar to what he experienced as an exile condemned to death by his Commune. Dante also defines the lighter penitences which torture the souls of his Purgatorio. Finally, Dante’s Justice shines alive in his Paradiso, first in the sky of Mercury and then, at its apotheosis, in the sky of Jupiter, when the eagle an-wers Dante the Pilgrim’s difficult questions about the salvation of pagan souls. As the eagle points out, even the blessed souls do not know the names of all the saved ones, and this remark should invite mortals to restrain from judging their peers. A similar message seems to be at the very heart of Aquinas’ speech in the sky of the Sun.

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Heaney, Seamus. "Translation of Inferno, Canto 2." In Dante’s Modern Afterlife, 261–64. London: Palgrave Macmillan UK, 1998. http://dx.doi.org/10.1007/978-1-349-26975-4_16.

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Schnapp, Jeffrey T. "Lectura Dantis: Inferno 30." In Late Medieval and Early Modern Studies, 75–85. Turnhout: Brepols Publishers, 2000. http://dx.doi.org/10.1484/m.lmems-eb.3.1787.

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Conference papers on the topic "Dante's Inferno"

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Powell, Amanda. "Dante's Inferno." In ACM SIGGRAPH 2010 Computer Animation Fesitval. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1836623.1836637.

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Marquis, Jenefer, and Theodor Wyeld. "The Contemporisation of Dante's Inferno." In 2011 15th International Conference Information Visualisation (IV). IEEE, 2011. http://dx.doi.org/10.1109/iv.2011.97.

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Vermeersch, Paula Ferreira. "Aspectos iconográficos infernais em incunábulos da Divina Comédia." In Encontro da História da Arte. Universidade Estadual de Campinas, 2006. http://dx.doi.org/10.20396/eha.2.2006.3957.

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Esse artigo pretende ser uma introdução a uma pesquisa, a partir dos incunábulos da Divina Comédia do acervo da Biblioteca Newberry, de Chicago, EUA, às iconografias renascentistas do poema de Dante. O objetivo é delinear um estudo introdutório e comparativo a alguns aspectos iconográficos do Inferno, nas três primeiras edições ilustradas do poema.

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